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Boston’s biggest outdoor jazz event has more of a local focus his year—hardly a problem, given the wealth of talent connected to Berklee, NEC and other institutions.
Pulitzer prize-winning dramatist Robert Schenkkan is chained to a dreary, fact-driven approach in “All the Way,” tossing in bits and pieces of “what if” for unconvincing dramatic effect.
A knockout performance from pianist Jeremy Denk, cellist Jan Vogler exudes a strong poetic sensibility, and pianist Hélène Grimaud’s Brahms Concertos are a mixed bag.
I found myself most interested by the fact that so many of the changes that took place at WBCN made absolute sense to me, even if I had an aesthetic beef with them.
While Múm sometimes succumbs to the monotony that’s a predictable risk for chill electronic acts, in Smilewound the group has brought together a set of intricately-crafted folktronic songs that are always enjoyable, and occasionally even breathtaking.
In conductor Christoph von Dohnányi, the BSO has one of its most trusted guests and thoughtful collaborators.
The jam-packed audience for the opening performance of the fiftieth season was filled with Cantata Singers old timers.
The crowd at the Paradise Rock Club was awful, and whether Jake Bugg noticed this or not, it caused him to turn in a pretty mediocre performance.
A wide swath of Belgian and American artists became interested in Courbet’s attention to the humble subject and his distinctive handling of paint. Mapping Realism examines how and whom.
Swiss Stage’s inaugural offering was Dog Paddle (Schwimmen wie Hunde), a domestic comedy based on existential themes, by the German-speaking playwright Reto Finger.
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